The producer of my first movie took this on his patio near the hot tub. Sorry, but he kept the nude shots.
My youthful attempt to emulate Marlene Dietrich in Blonde Venus
PS – If you’re looking for my id, here it is.
The producer of my first movie took this on his patio near the hot tub. Sorry, but he kept the nude shots.
My youthful attempt to emulate Marlene Dietrich in Blonde Venus
PS – If you’re looking for my id, here it is.
If this were a Joan Crawford movie she’d have given him the damn gold cigarette case by now.
Portrait of John Wilson by Sasha Gusov
From August, 2018. Cantara, former ASCAP solfeggist and 70s porn actress turned memoirist, has fallen hopelessly in love with a man at the other end of the world, an English, middle-ranking orchestra conductor—who plays, on the side, Golden Age of Hollywood music and The Great American Songbook—by the name of John Wilson.

Not because he’s a fellow creator (he doesn’t create, but reconstructs, orchestrates and arranges the music of others)—not because of his looks (he’s peaky, scrawny, blinky; his gray-green eyes lack luster; he’s got a facial tic, pores like craters, lousy posture, enormous feet, the limbs of a stick insect and the hands of a hod carrier; his nose is an equilateral triangle; his famous cleft chin, supposedly his best feature, always looks slightly askew; his ultra-short mousy hair can’t conceal the fact he’s already going gray; he sweats like a stevedore on the podium; and for the past few years he’s taken to wearing geek glasses)—and certainly not for his intellect (his fatuous pronouncement about the needlessness of lyrics in The Great American Songbook makes me want to smack the back of his head like the whippersnapper he is and send him home with a note).
So what is it about him?* I’ve only been aware of his existence since 30 April and in love with him since 4 May, 2018; since then my feelings have been an insane mixture of tenderness, gratitude, annoyance, and lust. The tenderness I understand: I’ve spent enough time in Hollywood to understand the position he’s in… As far as gratitude, here’s his concert version of “The Trolley Song” using the original 1944 orchestration(!)— thank you thank you thank you, John. Even the raging lust I get.
But whenever John gets himself in the way of the music it drives me nuts. It’s crystal clear to me the times he does this because I’m in love with him, dammit, and because he’s a musician I pay attention to the music. Truth to tell, the only times John really gets himself in the way are when he’s conducting his own hand-picked group which is dedicated mostly to music from Golden Hollywood & The Great American Songbook, and cannily named The John Wilson Orchestra.
Listen to John’s new orchestra the SINFONIA OF LONDON here
Whether he gets himself in the way indeliberately or on purpose I cannot entirely tell, but I’m starting to. With a little patience he isn’t that hard to read, my bonny John Wilson. After countless times listening to his recordings and broadcasts; pouring over his interviews; watching him conduct (in video clips, mainly from the annual BBC Proms); watching him conduct other orchestras besides his own (ditto); and, most important, learning to separate the showman from the musician, I’m starting to understand his type of intelligence and his musical capability, which is actually pretty sizeable. His ear (the way he hears things, not his purported perfect pitch) is intriguing and his industriousness is admirable. I am definitely not buying into the PR excess—he is not “a superstar”, “a guru”, “charismatic”, “legendary”, “a conducting icon” or, God help us, as proclaimed by the BBC, “the nation’s favorite” (!!!). But his musicianship at times is kiiind of brilliant.
* Update 10 August 2019: I’ve just read up on what it is about him, and now I’ve got science to back me up. It’s John’s fault.
Anyroad, like a good Dr Watson I have compiled a list:
Listen to John’s new orchestra the SINFONIA OF LONDON here
JOHN WILSON – HIS LIMITS (Updated September 2021)

Knowledge of/affinity for/talent with:
All the rest is just Cantara trying to sort out where bonny John fits into her inner life. Which as it turns out is in every nook, every cranny…
Reprint, originally published 2012 at Academia.edu. PDF download available here.

EXTRA! Mister Grumble and Stephen Gyllenhaal in Brentwood, 2007
From Simona Wing to Gerard Damiano to Helen Wood to Andre Previn to John Wilson—Cantara’s three degrees from her beloved conductor.
Give a Girl a Break (trailer here) is a US 1953 musical comedy film starring Debbie Reynolds and the dance team of Marge and Gower Champion. Helen Wood, Richard Anderson, Kurt Kaszner and a young Bob Fosse have featured roles. At only 88 minutes, Give a Girl a Break shows residual elements of the big project it started out to be, with a passable score by Burton Lane and Ira Gershwin, direction by Stanley Donen, and musical direction by Andre Previn.
Degree rule: You have to’ve personally worked with the person in the next degree. I worked with Damiano in his 1981 porn classic Beyond Your Wildest Dreams as Simona Wing; Damiano wrote and directed 1972’s Deep Throat, which Helen Wood (as Dolly Sharp) was in; Helen Wood co-starred in the musical Give a Girl a Break, on which the musical director was Andre Previn; Previn worked on the 2012 Proms My Fair Lady with my beloved John Wilson.
Above Marge, Debbie and Helen: The overture to the 2012 Proms My Fair Lady, with John conducting The John Wilson Orchestra in his own arrangement of Andre Previn’s orchestration of the film score.
GIVE A GIRL A BREAK is available in its entirety here
The Philippines have never won the gold in 97 years until now—consequently, we get to hear The Philippine National Anthem (Julián Felipe-José Palma, 1899; lyrics below) played at the Olympics for the very first time. So I went over to YT to find a good version of the national anthem (which I once used to be able to sing not only in English but Tagalog learned phonetically) and I found THIS on YT and it’s—it’s—well, it’ll make you want to swell with pride if you’re a true Pinoy. Really. It’ll knock your socks off. For all you others: This is a very tuneful, very singable national anthem entitled “Lupang Hinirang” and it’s placed very dramatically and effectively in this short produced by the big broadcast company in the PI.
Bayang magiliw
Perlas ng silanganan
Alab ng puso
Sa dibdib mo’y buhay
Lupang Hinirang
Duyan ka nang magiting
Sa manlulupig
Di ka pasisiil
Sa Dagat at bundok sa simoy
At sa langit mo’y bughaw
May dilag ang tula
At awit sa paglayang minamahal
Ang kislap ng watawat mo’y tagumpay na nagniningning
Ang bituin at araw niya’y kailanpama’y di magdidilim
Lupa ng araw ng luwalhati’t pagsinta
Buhay ay langit sa piling mo
Aming ligaya nang pag
May mang-aapi
* Battle of Mactan 1521
* GomBurZa 1872
* Revolution of 1896
* Jose Rizal 1861-1896
* First Republic 1898
* Declaration of Independence 1898
* War With America 1898-1913
* Battle of Manila 1899
* Commonwealth 1935
* War With Japan 1941-1945
* EDSA 1986
Here’s the audio of the short above
EXTRA! My Filipiniana on YouTube
John dear,

Above this 2023 NYT news shot of my shining, desired one: The entire 2022 BBC Proms concert at the Royal Albert Hall, John and his Sinfonia of London performing British Classics: Ralph Vaughan Williams – Fantasia on a Theme by Thomas Tallis; Huw Watkins – Flute Concerto; Arnold Bax – Tintagel; William Walton – Partita for Orchestra; Edward Elgar – Enigma Variations Oh John, you and Elgar together again…
On three out of your last five birthdays, awful things happened in my country that couldn’t be ignored (the worst happening on your 48th in my own old neighborhood) so I’m sorry I didn’t have anything amusing to post after your 47th. Because you share the same day of birth as my father (you were born the year he died) I had thought what I’d be doing is alternating birthday congrats to you with memories of my dad, like this one…
Well, that didn’t work out. Things and events are crowding so fast…and I can’t catch up to the connection—association—context of it all fast enough…
But there is one thing I want you to remember through all this global mishegoss: I’m still in love with you as much as I ever have been. In fact the more I learn about you, the more it makes me love you. Even through your clunkers, John, John / Glorious John.
If you were my boyfriend and you had a struggling rock group, there’d be posters on every lamppost in San Francisco. But you (and your people) must have figured that out by now.
I have been memorizing this room. In the future, in my memory, I shall live a great deal in this room.

Find this scene on my YT channel here and apologies for the quality of the vid but it was the best available. Underscoring for Mamoulian’s classic is by the esteemed 1st music director at MGM, Herbert Stothart. Stothart’s adorable “Donkey Serenade” is featured in The MGM Jubilee Overture, written in 1954 by 2nd music director Johnny Green and restored to the repertoire by my bonny. I’m moving to your rhythm, John.
I found this on my x.com/cantara account. When I watch it I think of John and his people. I can see his face in theirs, and it makes me love him all the more.
That’s “Blue Skies” by Irving Berlin playing in the background.
So John, when you finally get around to this posting, just know that I spent my latest birthday basking in the pure liquid joy of loving you.

Re current matters: I suspect you’ve been here when I read in my stats that some unique visitor has been poking around my more informational posts, you know, where I try to identify recorded music—classical and popular—as accurately and completely as possible. Oftentimes it’s the music you’ve just played or about to. That’s my ASCAP training and I’m grateful that it works to your benefit.
And as I’ve said before in so many words, Baby, I’m your slave. I’ll do anything for you except pick up your dry cleaning. Or give you a good review you don’t deserve.
I’m also stoked that you’ve finally followed the trail of bread crumbs I left years ago, starting with “Maria Ewing (1950-2022) Gives Richard Strauss’s Salome the Full Monty and Sings Bali Ha’i Exotically with The JWO, Just for My Beloved English Conductor, John Wilson”… You know, the trail that leads the Intrepid English Explorer deep into the Lair of the Exotic Jungle Goddess… You know, that one…
My love, if you’re looking for a naked picture of me, look right here on the front page of my art website, above my “77 Views of John Wilson” why don’t you. Don’t worry, they’re nice views.
As for that other stuff, that profound stuff, just keep it in your heart.
I expect to read more news of you soon. Love, Cantara
EVERYONE ELSE! Looking for music to download? Here’s the big page, although it doesn’t “formally roll out” till 14 February: “A Valentine’s Day Card Just for My Bonny English Conductor John Wilson, 2025“
From 2023: Here’s my favorite Hawaiian-born girl singer in her 1977 TV special being pulled from the sea by astonished islanders—mostly Filipino, look at them closely—to lead a rousing chorus, with hula gestures, in THE GREATEST SHOW TUNE ever written. You got that, my Geordie love? Or is that too “exotic” for you?

Above: Audio of the entire 1977 TV special “Ol’Red Hair is Back”. And here’s the entire show on YouTube.
EXTRA!

Assorted selections from (mostly) John’s other Proms with The John Wilson Orchestra, the Sinfonia of London, and the various BBC/RTE concert symphony orchestras:
From Thanksgiving 2018.
Above: Arlo, son of the legendary Oklahoman Woody Guthrie sings “Alice’s Restaurant”, the ultimate anti-military satirical talking blues.
- This song is called Alice's Restaurant, and it's about Alice, and the restaurant, but Alice's Restaurant is not the name of the restaurant, that's just the name of the song, and that's why I called the song Alice's Restaurant.
- You can get anything you want at Alice's Restaurant
You can get anything you want at Alice's Restaurant
Walk right in it's around the back
Just a half a mile from the railroad track
You can get anything you want at Alice's Restaurant
- Now it all started two Thanksgivings ago, was on—two years ago on Thanksgiving, when my friend and I went up to visit Alice at the restaurant, but Alice doesn't live in the restaurant, she lives in the church nearby the restaurant, in the bell tower, with her husband Ray and Fasha the dog. And livin' in the bell tower like that, they got a lot of room downstairs where the pews used to be in. Havin' all that room, seein' as how they took out all the pews, they decided that they didn't have to take out their garbage for a long time.
- We got up there, we found all the garbage in there, and we decided it'd be a friendly gesture for us to take the garbage down to the city dump. So we took the half a ton of garbage, put it in the back of a red VW microbus, took shovels and rakes and implements of destruction and headed on toward the city dump.
- Well we got there and there was a big sign and a chain across across the dump saying, "Closed on Thanksgiving." And we had never heard of a dump closed on Thanksgiving before, and with tears in our eyes we drove off into the sunset looking for another place to put the garbage. We didn't find one. Until we came to a side road, and off the side of the side road there was another fifteen foot cliff and at the bottom of the cliff there was another pile of garbage. And we decided that one big pile is better than two little piles, and rather than bring that one up we decided to throw our's down.
- That's what we did, and drove back to the church, had a Thanksgiving dinner that couldn't be beat, went to sleep and didn't get up until the next morning, when we got a phone call from officer Obie. He said, "Kid, we found your name on an envelope at the bottom of a half a ton of garbage, and just wanted to know if you had any information about it." And I said, "Yes, sir, Officer Obie, I cannot tell a lie, I put that envelope under that garbage."
- After speaking to Obie for about forty-five minutes on the telephone we finally arrived at the truth of the matter and said that we had to go down and pick up the garbage, and also had to go down and speak to him at the police officer's station. So we got in the red VW microbus with the shovels and rakes and implements of destruction and headed on toward the police officer's station.
- Now friends, there was only one or two things that Obie coulda done at the police station, and the first was he could have given us a medal for being so brave and honest on the telephone, which wasn't very likely, and we didn't expect it, and the other thing was he could have bawled us out and told us never to be see driving garbage around the vicinity again, which is what we expected, but when we got to the police officer's station there was a third possibility that we hadn't even counted upon, and we was both immediately arrested. Handcuffed.
- And I said "Obie, I don't think I can pick up the garbage with these handcuffs on." He said, "Shut up, kid. Get in the back of the patrol car."
- And that's what we did, sat in the back of the patrol car and drove to the quote Scene of the Crime unquote. I want tell you about the town of Stockbridge, Massachusets, where this happened here, they got three stop signs, two police officers, and one police car, but when we got to the Scene of the Crime there was five police officers and three police cars being the biggest crime of the last fifty years, and everybody wanted to get in the newspaper story about it. And they was using up all kinds of cop equipment that they had hanging around the police officer's station. They was taking plaster tire tracks, foot prints, dog smelling prints, and they took twenty seven eight-by-ten color glossy photographs with circles and arrows and a paragraph on the back of each one explaining what each one was to be used as evidence against us. Took pictures of the approach, the getaway, the northwest corner the southwest corner and that's not to mention the aerial photography.
- After the ordeal, we went back to the jail. Obie said he was going to put us in the cell. Said, "Kid, I'm going to put you in the cell, I want your wallet and your belt." And I said, "Obie, I can understand you wanting my wallet so I don't have any money to spend in the cell, but what do you want my belt for?" And he said, "Kid, we don't want any hangings." I said, "Obie, did you think I was going to hang myself for littering?" Obie said he was making sure, and friends Obie was, cause he took out the toilet seat so I couldn't hit myself over the head and drown, and he took out the toilet paper so I couldn't bend the bars roll out the, roll the toilet paper out the window, slide down the roll and have an escape. Obie was making sure, and it was about four or five hours later that Alice (remember Alice? It's a song about Alice), Alice came by and with a few nasty words to Obie on the side, bailed us out of jail, and we went back to the church, had a another Thanksgiving dinner that couldn't be beat, and didn't get up until the next morning, when we all had to go to court.
- We walked in, sat down, Obie came in with the twenty seven eight-by-ten color glossy pictures with circles and arrows and a paragraph on the back of each one, sat down. Man came in said, "All rise." We all stood up, and Obie stood up with the twenty seven eight-by-ten color glossy pictures, and the judge walked in sat down with a seeing eye dog, and he sat down, we sat down. Obie looked at the seeing eye dog, and then at the twenty seven eight-by-ten color glossy pictures with circles and arrows and a paragraph on the back of each one, and looked at the seeing eye dog. And then at twenty seven eight-by-ten color glossy pictures with circles and arrows and a paragraph on the back of each one and began to cry, 'cause Obie came to the realization that it was a typical case of American blind justice, and there wasn't nothing he could do about it, and the judge wasn't going to look at the twenty seven eight-by-ten color glossy pictures with the circles and arrows and a paragraph on the back of each one explaining what each one was to be used as evidence against us. And we was fined $50 and had to pick up the garbage in the snow... But that's not what I came to tell you about.
- Came to talk about the draft.
- They got a building down New York City, it's called Whitehall Street, where you walk in, you get injected, inspected, detected, infected, neglected and selected. I went down to get my physical examination one day, and I walked in, I sat down, got good and drunk the night before, so I looked and felt my best when I went in that morning. 'Cause I wanted to look like the all-American kid from New York City, man I wanted, I wanted to feel like the all, I wanted to be the all-American kid from New York, and I walked in, sat down, I was hung down, brung down, hung up, and all kinds o' mean nasty ugly things. And I waked in and sat down and they gave me a piece of paper, said, "Kid, see the psychiatrist, room 604."
- And I went up there, I said, "Shrink, I want to kill. I mean, I wanna, I wanna kill. Kill. I wanna, I wanna see, I wanna see blood and gore and guts and veins in my teeth. Eat dead burnt bodies. I mean kill, Kill, KILL, KILL." And I started jumpin' up and down yelling, "KILL, KILL, " and he started jumpin' up and down with me and we was both jumping up and down yelling, "KILL, KILL." And the sargent came over, pinned a medal on me, sent me down the hall, said, "You're our boy."
- Didn't feel too good about it.
- Proceeded on down the hall gettin more injections, inspections, detections, neglections and all kinds of stuff that they was doin' to me at the thing there, and I was there for two hours, three hours, four hours, I was there for a long time going through all kinds of mean nasty ugly things and I was just having a tough time there, and they was inspecting, injecting every single part of me, and they was leaving no part untouched. Proceeded through, and when I finally came to the see the last man, I walked in, walked in sat down after a whole big thing there, and I walked up and said, "What do you want?" He said, "Kid, we only got one question. Have you ever been arrested?"
- And I proceeded to tell him the story of the Alice's Restaurant Massacre, with full orchestration and five part harmony and stuff like that and all the phenome...
- And he stopped me right there and said, "Kid, did you ever go to court?"
- And I proceeded to tell him the story of the twenty seven eight-by-ten color glossy pictures with the circles and arrows and the paragraph on the back of each one, and he stopped me right there and said, "Kid, I want you to go and sit down on that bench that says Group W... NOW, kid!!"
- And I, I walked over to the, to the bench there, and there is, Group W's where they put you if you may not be moral enough to join the army after committing your special crime, and there was all kinds of mean nasty ugly looking people on the bench there. Mother rapers. Father stabbers. Father rapers! Father rapers sitting right there on the bench next to me! And they was mean and nasty and ugly and horrible crime-type guys sitting on the bench next to me. And the meanest, ugliest, nastiest one, the meanest father raper of them all, was coming over to me and he was mean 'n' ugly 'n' nasty 'n' horrible and all kind of things and he sat down next to me and said, "Kid, whad'ya get?" I said, "I didn't get nothing, I had to pay $50 and pick up the garbage." He said, "What were you arrested for, kid?" And I said, "Littering."
- And they all moved away from me on the bench there, and the hairy eyeball and all kinds of mean nasty things, till I said, "And creating a nuisance." And they all came back, shook my hand, and we had a great time on the bench, talkin about crime, mother stabbing, father raping, all kinds of groovy things that we was talking about on the bench. And everything was fine, we was smoking cigarettes and all kinds of things, until the Sargeant came over, had some paper in his hand, held it up and said:
- "Kids, this-piece-of-paper's-got-47-words-37-sentences-58-words-we-wanna-know-details-of-the-crime-time-of-the-crime-and-any-other-kind-of-thing-you-gotta-say-pertaining-to-and-about-the-crime-I-want-to-know-arresting-officer's-name-and-any-other-kind-of-thing-you-gotta-say", and talked for forty-five minutes and nobody understood a word that he said, but we had fun filling out the forms and playing with the pencils on the bench there, and I filled out the massacre with the four part harmony, and wrote it down there, just like it was, and everything was fine and I put down the pencil, and I turned over the piece of paper, and there, There on the other side, in the middle of the other side, away from everything else on the other side, in parentheses, capital letters, quotated, read the following words:
"KID, HAVE YOU REHABILITATED YOURSELF?"
- I went over to the sargent, said, "Sargeant, you got a lot a damn gall to ask me if I've rehabilitated myself, I mean, I mean, I mean that just, I'm sittin' here on the bench, I mean I'm sittin here on the Group W bench 'cause you want to know if I'm moral enough join the army, burn women, kids, houses and villages after bein' a litterbug." He looked at me and said, "Kid, we don't like your kind, and we're gonna send you fingerprints off to Washington."
- And friends, somewhere in Washington enshrined in some little folder, is a study in black and white of my fingerprints. And the only reason I'm singing you this song now is cause you may know somebody in a similar situation, or you may be in a similar situation, and if you're in a situation like that there's only one thing you can do and that's walk into the shrink wherever you are, just walk in say "Shrink, you can get anything you want, at Alice's Restaurant." And walk out. You know, if one person, just one person does it they may think he's really sick and they won't take him. And if two people, two people do it, in harmony, they may think they're both faggots and they won't take either of them. And three people do it, three, can you imagine, three people walking in singin' a bar of Alice's Restaurant and walking out. They may think it's an organization. And can you, can you imagine fifty people a day, I said fifty people a day walking in singin a bar of Alice's Restaurant and walking out. And friends they may thinks it's a movement.
- And that's what it is, the Alice's Restaurant Anti-Massacre Movement, and all you got to do to join is sing it the next time it comes around on the guitar.
- With feeling. So we'll wait for it to come around on the guitar, here and sing it when it does. Here it comes.
- You can get anything you want, at Alice's Restaurant
You can get anything you want, at Alice's Restaurant
Walk right in it's around the back
Just a half a mile from the railroad track
You can get anything you want, at Alice's Restaurant
- That was horrible. If you want to end war and stuff you got to sing loud. I've been singing this song now for twenty five minutes. I could sing it for another twenty five minutes. I'm not proud...or tired.
- So we'll wait till it comes around again, and this time with four part harmony and feeling.
We're just waitin' for it to come around is what we're doing.
All right now.
You can get anything you want, at Alice's Restaurant
Excepting Alice
You can get anything you want, at Alice's Restaurant
Walk right in it's around the back
Just a half a mile from the railroad track
You can get anything you want, at Alice's Restaurant
Da da da da da da da dum
At Alice's Restaurant
From October 2020: This past UK Daylight Savings weekend there was a sizeable rise in the number of visits to my blog, “I’ll Be Dead Before You Break My Heart”, and I attribute this directly to the kindness of some person/s in letting my beloved John Wilson know about that perfect screenshot of him at the Royal Academy of Music. Visitor #1 from the UK was particularly intriguing. Visitor #1 may have started clicking on my postings as early as Friday night, and was almost certainly the same person who came back for more the next night, Saturday, returning for three more hours on Sunday morning. What was most gratifying is that Visitor #1 actually seems to have taken the time to read my postings, especially my more thoughtful ones, the ones where I talk about John and his work in the Classical Repertoire. (Visitor #1 almost certainly was the one who also downloaded my memoir of the nutty Gyllenhaals, which was doubly gratifying.) Whether or not Visitor #1 is the #1 Reader I’ve yearned to capture for 2 1/2 years [now 6 1/2 yrs, ed.], I’m stoked, and I intend to go on writing, and writing better, for John’s sake—but also for The Old Man, Mamoulian’s sake, who once told me, “Love with style, but also with a little sadness for the suffering involved.”

From 2021: About 15 or so years ago, I was somebody’s plus-one on an industry pass to go to a preview of the showbiz biopic Beyond the Sea, which was being shown in a really good theater with an above-average sound system. I wasn’t a particular fan of Bobby Darin or even of Kevin Spacey (for all that he is the definitive Jamie Tyrone of our generation and frankly I don’t care about anything else); actually I just wanted to find out how cheesy the production could get. Well honestly, it did start off pretty cheesily, every element that should’ve contributed some genuine worth—like, you know, the lead acting, the directing, design, (makeup! prosthesis!) etc—was utter bad-phony, not good-phony, bullcrap…and then they struck up the soundtrack orchestra…
Above Spacey: “Beyond the Sea” as only my beloved John could do it.
If I could’ve exclaimed “Holy mackerel!” out loud the moment that gorgeous snap hit my ears I would’ve exclaimed it out loud, but you don’t do that at an industry screening, so I exclaimed it in my mind. I hadn’t heard a commitment like that coming from a track orchestra in a very long time. This was no session, no pick-up crew, this was one tight unit, and they were hitting the musical values like nobody’s business. I vowed to remember the name of this bright new conductor-arranger—which of course I promptly forgot (There are a lot of John Wilsons in the world, as Anthony Burgess would be the first to tell you) and didn’t remember again until last May. Recorded by my darling and his O for the Warner Bros film at Pinewood Studios, 2003. A 2006 Grammy nominee in the Best Compilation Soundtrack Album for Motion Picture, Television or Other Visual Media category (composers Charles Trenet-Jack Lawrence, arranger Dick Behrke, producer Phil Ramone). Available on Rhino Records, that notorious niche label, and I really must find out who at Warners moved it to that catalog.

Look at the look on that girl’s face. She’s watching the conductor for cues and he’s smiling at her, giving her the cue to remember that her solo’s coming up in a few measures, and she’s smiling back in assent. The conductor is my beloved John, who gives love to his orchestras like I’ve never seen done before, not with conductors I’ve worked with and I’m guessing not even Bernstein, and I’ve seen Bernstein conduct youth orchestras.
My God, do you wonder why I’m so much in love with this man?
Regarding John’s two Carousel Waltzes:
And just today, 09 November 2024, five years after the fire, the bells of Notre Dame de Paris rang again, with a very special message for Marianists like me.
6 November 2024, 4:30am—Wisconsin calls it at 277!
I quote to you from the first page of conductor John Mauceri’s 2022 book, The War On Music (entire book available here in PDF):
In the first months of the third decade of the twenty-first century, an executive order emerged from Washington DC, that was called “Making Federal Buildings Beautiful Again”. It mandated that new federal buildings in the United States must be designed according to the classical architectural style of Roman temples as the “default style”. Predictably, this caused outrage among many and set up fake battle lines between America’s conservatives (the Republicans and President Donald Trump) and liberals (the Democrats and so-called progressives). Predictably, on February 24, 2021—a mere five weeks after his inauguration—Democratic President Joe Biden revoked the order. Beauty was the justification for the Trump’s administration’s order. Consistency and reference were the means to that end.
This is how young and free and full of hope Cantara’s feeling today. I just woke up with this song in my head:
Above: My cousin, Grammy-Award winning guitarist Larry Ramos with his old group, The Association, doing my favorite of theirs, “Goodbye, Columbus”, an upbeat song about youth and new roads, a jukebox tie-in with the 1969 film based on Philip Roth’s novella of the same name, about a couple of Jewish kids escaping boring old Ohio.
And where’s Korngold? Here he is, just for my bonny John Wilson! Charles Gerhardt conducting the Reader’s Digest Orchestra in their 1965 recording of Erich Korngold’s Overture to The Constant Nymph. A prize from that wonderfully revealing 48-minute interview you gave with that OAE lady last February where you brought up this piece, John.
What did I tell you? I had to piece this schedule from emails from The Glasshouse and the Sinfonia of London.
[JOHN’S PAST AND PRESENT CONCERT SCHEDULES]

WHAT YOU’LL HEAR
A message from John Wilson
The centrepiece of our concert is Rachmaninov’s rarely heard First Symphony. Why it’s rarely heard is a mystery to me, I’d even say it’s the greatest of his three symphonies. It’s a work of tremendous emotional power and drama and I’m telling everyone I know about this because I want them to come and hear it. Sinfonia of London have recorded the Second Symphony and we’ve played quite a lot of Rachmaninov over the past few years, I feel like it’s become part of our DNA.
Kenneth Hesketh is a great friend of mine, we were at college together, and he’s the most marvellous composer. I love his music. PatterSongs, a short piece to open the concert, is taken from his opera The Overcoat and has all the qualities I associate with Ken’s music. It’s mercurial, dazzling, brilliantly orchestrated, quirky and the perfect way to open the concert.
The great cellist Sheku Kanneh-Mason won the BBC Young Musician of the Year competition when he was 16 years old, playing Shostakovich’s First Cello Concerto. We’re thrilled he’s invited us to play the Second Cello Concerto on this tour, it’s a real masterpiece, the kind of pure music that gets under your skin. Once you’ve heard it, it’s a difficult piece of music to leave.
This is an evening of really great music, some of which is rarely played, and it’s a real thrill for me to be performing it with Sinfonia of London. I hope to see you there.
Tue 13 Oct 2024 16:00
Bristol Beacon
Bristol, UK
Sinfonia of London
Sheku Kanneh-Mason (cello)
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Tue 15 Oct 2024 19:30
Barbican Hall
London, UK
Sinfonia of London
Sheku Kanneh-Mason (cello)
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Fri 18 Oct 2024 19:30
The Glasshouse
Gateshead, UK
Sinfonia of London
Sheku Kanneh-Mason (cello)
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Sat 19 Oct 2024 19:30
Royal Concert Hall
Nottingham, UK
Sinfonia of London
Sheku Kanneh-Mason (cello)
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Wed 13 Nov 2024 20:00
Philharmonie de Paris
Paris, France
Orchestre de Paris
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Thu 14 Nov 2024 20:00
Philharmonie de Paris
Paris, France
Orchestre de Paris
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Sun 05 Jan 2025 17:00
Konserthuset
Stockholm, Sweden
Royal Stockholm Philharmonic Orchestra
Julian Ovenden (dishy vocalist)
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Wed 14 Feb 2025 19:30
Royal Academy of Music
London, UK
RAM Symphony Orchestra
Adriana Bec (violin)
To John: …My love is deep / The more I give to thee / The more I have / For both are infinite…
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Sat 29 Mar 2025 19:30
BBC Philharmonic Orchestra
Manchester, UK
Jonathan Scott (organ)
Alice Coote (mezzo-soprano)
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And here starts John’s concert tour of his famous pop classics, in which he gets to butcher my dear old boss Mamoulian’s Okla-freakin-homa! all over again.
Prepare to be enchanted as John Wilson and Sinfonia of London bring the timeless music of Rodgers & Hammerstein to life in a spectacular concert featuring beloved songs from some of the greatest musicals of all time including South Pacific, The Sound of Music, Oklahoma! Carousel and The King and I. Audiences will be treated to classic hits such as ‘Oh What a Beautiful Morning’, ‘People Will Say We’re In Love’ ‘Some Enchanted Evening’, ‘Younger Than Springtime’ and more!!!
18 Jun 2025 18:15
Brighton Dome Concert Hall
Brighton and Hove, UK
Sinfonia of London
Louise Dearman, Nathaniel Hackmann Scarlett Strallen (vocalists)
19 Jun 2024 18:30
Lighthouse, Poole’s Centre for the Arts
Poole, UK
Sinfonia of London
Louise Dearman, Nathaniel Hackmann Scarlett Strallen (vocalists)
21 Jun 2025 19:00
Royal Concert Hall
Nottingham, UK
Sinfonia of London
Louise Dearman, Nathaniel Hackmann Scarlett Strallen (vocalists)
22 Jun 2025 19:30
The Bridgewater Hall
Manchester, UK
Sinfonia of London
Louise Dearman, Nathaniel Hackmann, Scarlett Strallen (vocalists)
23 Jun 2025 19:00
Bristol Beacon
Bristol, UK
Sinfonia of London
Louise Dearman, Nathaniel Hackmann, Scarlett Strallen (vocalists)
24 Jun 2025 19:30
The Anvil
Basingstoke, UK
Sinfonia of London
Louise Dearman, Nathaniel Hackmann, Scarlett Strallen (vocalists)
26 Jun 2025 19:30
The Royal Albert Hall
London, UK
Sinfonia of London
Louise Dearman, Nathaniel Hackmann, Scarlett Strallen (vocalists)
27 Jun 2025 19:00
Symphony Hall
Birmingham, UK
Sinfonia of London
Louise Dearman, Nathaniel Hackmann, Scarlett Strallen (vocalists)
28 Jun 2025 19:00
Royal Concert Hall
Glasgow, UK
Sinfonia of London
Louise Dearman, Nathaniel Hackmann, Scarlett Strallen (vocalists)
29 Jun 2025 19:30
The Glasshouse International Centre for Music
Gateshead, UK
Sinfonia of London
Louise Dearman, Nathaniel Hackmann, Scarlett Strallen (vocalists)

[more later..]

It isn’t every day I run into a blog or site that contains more than one comprehensive and knowledgeable review of John’s recordings, but this morning I found a treasure trove over at David’s Classical CDs. David Rowe, a retired banker and musician, lives up in the tranquil Rockies with his life partner, 10,000 CDs, and a state-of-the-art sound system. Is that paradise or what?
David Rowe is proud of his sound system and I’ve learned a few new technological terms from him to help me sound intelligent when I talk about John’s recordings myself (for example SACD, I never knew what that meant and didn’t care…I still kind of don’t). But being a retired musician, he also listens to John’s recordings with a discriminating ear and lets you know when he thinks John’s at his best or just phoning it in. (We’re pretty much in accord here. I love John—I’m crazy IN love with him—but dammit, he can be hit-or-miss.)
Rowe also has nice things to say about John’s Symphony in F by Erich Korngold; his Cloud Slant by Kenneth Fuchs; his Symphony No.3 by Adam Pounds. He calls Hollywood Soundstage “sensational”, and it is. Here are my favorite cuts from this album that make me dream luscious dreams of my sweet Geordie lad from Low Fell:
He’s a persuasive sweetheart, isn’t he? I just gave and will probably give again. Here’s the donation window.
And here’s John just in audio…I hear his mellifluous Geordie accent and my heart melts all over again.